Dead Can Dances second album, Spleen And Ideal (1985), saw them experiment more with instrumentation, abandoning guitars in favor of cello, trombone and timpani. Widely acclaimed, there was now a richness of unification between voice and music, lyrics and structure, showing they had a concrete sense of the aural ideal they were striving towards. Its title was taken from Spleen et Idéal, a collection of poems by 18th century French poet Charles Baudelaire.
Formed in Australia in the early 80s by Lisa Gerrard and Brendan Perry, Dead Can Dance had veered away from the punk explosion towards a more non-conformist style. But finding the music scene unreceptive they moved to London, landed a record deal with 4AD and embarked on a career with the label that would last seventeen years.
Highly respected artists with a loyal global fanbase, Gerrard and Perry consistently made music full of integrity and passion. Both immensely talented vocalists - Gerrard with her inimitable, mesmeric style and Perrys haunting baritone - they were also gifted, instinctive musicians and their melding of traditional instruments with samplers created a bridge between ancient and modern music.
1. De Profundis (Out of The Depths of Sorrow)
3. Circumradiant Dawn
4. The Cardinal Sin
1. Enigma of The Absolute
4. Indoctrination (A Design for Living)